Phase two is what I call Allen’s “Bob Hope period” from 1968-75, where he took his by-now-well-developed comic persona and plugged it into a series of increasingly-well-constructed film vehicles which all had one thing in common: they totally could have worked with Bob Hope in them. Allen always gave it his own spin, of course, brilliantly so – and his hard work and talent resulted in one of the most vivid and compelling comic voices of the twentieth century. Fields, Groucho Marx and Bob Hope, but also “well-made” Broadway plays like You Can ’ t Take It With You and Teahouse of the August Moon ( Don ‘ t Drink the Water combined both), and the New Yorker writing of S.J. Allen has been – or rather, was – completely upfront about his influences during this time, particularly Elaine May, W.C. First is his “emerging artist period” from the mid-fifties to the late-sixties, where he honed his joke-creation and stand-up craft until it was a fine art, and developed his writing via screenplays ( What ’ s New Pussycat?), short stories and plays ( Don ’ t Drink the Water).
I’d divide the career of Allen into four phases.
I’ll be up front – this article will involve a bit, actually make that a lot, of guesswork – but it’s educated guesswork and comes from a lifetime of reading, watching and listening to the works of Woody Allen, and pieces about him.Īnyway, here goes… God, I’m regretting this already… Not about Dylan Farrow’s allegations, not directly anyway – my main comment(s) about that (for what they’re worth, which isn’t much) is that I (a) think both people who were in the room at Bridgewater on that day believe wholeheartedly that they’re telling the truth, (b) wish that people who comment on what happened would footnote their “statements of fact”, and, (c) am already regretting mentioning this as much as I have, such are the passions this arouses.īut I did want to discuss the impact the allegations, and their ensuing fall-out, have had on Woody Allen in a creative sense.
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